Two Volumes by Hwei-Fe'n Cheah a Thesis
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Pergub DIY Tentang Penggunaan Pakaian Adat Jawa Bagi
SALINAN GUBERNUR DAERAH ISTIMEWA YOGYAKARTA PERATURAN GUBERNUR DAERAH ISTIMEWA YOGYAKARTA NOMOR 87 TAHUN 2014 TENTANG PENGGUNAAN PAKAIAN TRADISIONAL JAWA YOGYAKARTA BAGI PEGAWAI PADA HARI TERTENTU DI DAERAH ISTIMEWA YOGYAKARTA DENGAN RAHMAT TUHAN YANG MAHA ESA GUBERNUR DAERAH ISTIMEWA YOGYAKARTA, Menimbang : a. bahwa salah satu keistimewaan Daerah Istimewa Yogyakarta sebagaimana ditetapkan dalam Pasal 7 ayat (2) Undang-undang Nomor 13 Tahun 2012 tentang Keistimewaan Daerah Istimewa Yogyakarta adalah urusan kebudayaan yang perlu dilestarikan, dipromosikan antara lain dengan penggunaan Pakaian Tradisional Jawa Yogyakarta; b. bahwa dalam rangka melestarikan, mempromosikan dan mengembangkan kebudayaan salah satunya melalui penggunaan busana tradisional Jawa Yogyakarta, maka perlu mengatur penggunaan Pakaian Tradisional pada hari tertentu di Lingkungan Pemerintah Daerah Daerah Istimewa Yogyakarta; c. bahwa berdasarkan pertimbangan sebagaimana dimaksud dalam huruf a, huruf dan b perlu menetapkan Peraturan Gubernur tentang Penggunaan Pakaian Tradisional Jawa Yogyakarta Bagi Pegawai Pada Hari Tertentu Di Daerah Istimewa Yogyakarta; Mengingat : 1. Pasal 18 ayat (6) Undang-Undang Dasar Negara Republik Indonesia 1945; 2. Undang-Undang Nomor 3 Tahun 1950 tentang Pembentukan Daerah Istimewa Jogjakarta (Berita Negara Republik Indonesia Tahun 1950, Nomor 3) sebagaimana telah diubah terakhir dengan Undang-Undang Nomor 9 Tahun 1955 tentang Perubahan Undang-Undang Nomor 3 Tahun 1950 jo Nomor 19 Tahun 1950 tentang Pembentukan Daerah Istimewa Jogjakarta (Lembaran Negara Republik Indonesia Tahun 1955, Nomor 43, Tambahan Lembaran Negara Republik Indonesia Nomor 827); 3. Undang-Undang Nomor 13 Tahun 2012 tentang Keistimewaan Daerah Istimewa Yogyakarta (Lembaran Negara Republik Indonesia Tahun 2012, Nomor 170, Tambahan Lembaran Negara Republik Indonesia Nomor 5339); 4. Undang-Undang Nomor 5 Tahun 2014 tentang Aparatur Sipil Negara (Lembaran Negara Republik Indonesia Tahun 2014 Nomor 6, Tambahan Lembaran Negara Republik Indonesia Nomor 5494); 5. -
Brunei 2019 International Religious Freedom Report
BRUNEI 2019 INTERNATIONAL RELIGIOUS FREEDOM REPORT Executive Summary The constitution states that while the official religion is the Shafi’i School of Islam, all other religions may be practiced “in peace and harmony.” In April the government implemented the second and third phases of the Sharia Penal Code (SPC), which includes offenses punishable by corporal and capital punishments, including stoning to death, amputation of hands or feet, and caning. The SPC, which is in force in parallel with the common-law-based secular penal code, applies to both Muslims and non-Muslims, including foreigners, with non-Muslims exempted from certain sections. Under full SPC implementation, Royal Brunei Police Force (RBPF) and Religious Enforcement Division officers cooperate on investigations of crimes covered by both secular law and sharia. Following international condemnation, the sultan announced in May that the de facto moratorium on the death penalty would be extended to include cases under the SPC and that “individual privacy” would be respected. He also declared the government would ratify the United Nations Convention against Torture (UNCAT). Responding to UN expressions of concern regarding the SPC, the foreign minister reiterated that the constitution recognizes the right of non- Muslims to practice their religions “in peace and harmony.” Non-Muslims reported no significant changes with respect to the practice of minority religions following the full implementation of the SPC but noted that the law imposes new restrictions on the ability of non-Muslims to proselytize other non-Muslims, which until April had been legal. The government continued to prohibit non-Muslims from proselytizing among Muslims or persons with no religious affiliation. -
Ghana's Glass Beadmaking Arts in Transcultural Dialogues
Ghana’s Glass Beadmaking Arts in Transcultural Dialogues Suzanne Gott PHOTOS BY THE AUTHOR EXCEPT WHERE OTHERWISE NOTED hanaian powder-glass beads first captured spread of West African strip-weaving technologies. my attention in 1990, when closely examin- With the beginnings of European maritime trade in the late ing a strand of Asante waist beads purchased fifteenth century, an increasing volume of glass beads and glass in Kumasi’s Central Market. Looking at the goods were shipped to trade centers along present-day Ghana’s complex designs of different colored glasses, Gold Coast,1 stimulating the growth of local beadworking and I was struck with the realization that each powder-glass beadmaking industries. The flourishing coastal bead had been skillfully and painstakingly crafted. This seem- trade achieved a more direct engagement between European Gingly humble and largely unexamined art merited closer study merchants and trading communities than had been possible and greater understanding (Fig. 1). I worked with Christa Clarke, with the trans-Saharan trade, and enhanced European abilities Senior Curator for the Arts of Global Africa at the Newark to ascertain and respond to local West African consumer pref- Museum, to develop the 2008–2010 exhibition “Glass Beads of erences. This interactive trade environment also facilitated the Ghana” at the Newark Museum to introduce the general public impact of the demands of Gold Coast consumers on European to this largely overlooked art (Fig. 2). The following study pro- product design and production, a two-way dynamic similar to vides a more in-depth examination of Ghanaian glass beadmak- the trade in African-print textiles (Nielsen 1979; Steiner 1985). -
Venetian Beads
BEADS: Journal of the Society of Bead Researchers Volume 10 Volume 10-11 (1998-1999) Article 9 1998 Venetian Beads Frank Hird Follow this and additional works at: https://surface.syr.edu/beads Part of the Archaeological Anthropology Commons, History of Art, Architecture, and Archaeology Commons, Science and Technology Studies Commons, and the Social and Cultural Anthropology Commons Repository Citation Hird, Frank (1998). "Venetian Beads." BEADS: Journal of the Society of Bead Researchers 10: 57-62. Available at: https://surface.syr.edu/beads/vol10/iss1/9 This Article is brought to you for free and open access by SURFACE. It has been accepted for inclusion in BEADS: Journal of the Society of Bead Researchers by an authorized editor of SURFACE. For more information, please contact [email protected]. VENETIAN BEADS Frank Hird Interesting accounts of the manufacture of Venetian glass It was in the thirteenth or fourteenth centuries beads turn up in the most unlikely places. The one repro historians do not agree upon the exact date-that duced here was published in The Girl's Own Paper for Febru bead-making was established at Murano, and through ary 1, 1896 (Vol. 17, No. 840, pp. 292-294). In addition to all the years during which Ven ice exercised her almost presenting a decent description ofthe manufacture ofdrawn and blown beads during the latter part of the 19th century, imperial sway, the glass manufacture, on this ugly and Mr. Hird gives us details concerning the setting in which the dirty little island, was one of her glories. The beadmakers and bead stringers worked. -
Beaded Jewelry Designs Class-A Piece of Delicate Valentines Day Gifts For
Beaded jewelry designs class-a piece of delicate valentines day gifts for her Via learning today’s beaded jewelry designs class, you will gain another method to bead some delicate valentines day gifts for her. While practicing the tutorial, you only need several inches of Tiger tail wire and a few pearlized Acrylic Beads and 12/0 Seed Beads. Giving peculiar valentines day gifts for her, to the special women, is an unexceptionable chance to get her a little bit more wild with joy. Not only for the Valentine’s Day on routine, but also for her birthday or Christmas, etc. Valentine’s Day is about romantic, but never underestimates the significant value of individual gifts. Hence, in this article, I will show you one of the numerous beaded jewelry designs classes relate to the unique occasion. Things you will need: 8mm Acrylic Beads-Imitation Shell & Pearl 8mm Rondelle Swarovski Crystal Beads 12/0 Seed Beads Crimp bead Earring hooks Tiger tail wire Side Cutting Plier Wire-cutter Plier How to make valentines day gifts for her? Step1: bead the first flower portion 1. Prepare 50cm long Tiger tail wire and then form a loop with 6 pieces of 12/0 Seed Beads; 2. Slide the following beads on outer wire tip in order: 8mm Pearlized Acrylic Bead*1, 12/0 Seed Bead, 8mm Pearlized Acrylic Bead*1, 12/0 Seed Bead. Next, cross both tips through another 8mm Pearlized Acrylic Bead; 3. Do the same with outer wire. Further, thread the inner tip through its adjacent seed bead. At last, cross both tips through one 8mm Pearlized Acrylic Bead again; 4. -
Shifting of Batik Clothing Style As Response to Fashion Trends in Indonesia Tyar Ratuannisa¹, Imam Santosa², Kahfiati Kahdar3, Achmad Syarief4
MUDRA Jurnal Seni Budaya Volume 35, Nomor 2, Mei 2020 p 133 - 138 P- ISSN 0854-3461, E-ISSN 2541-0407 Shifting of Batik Clothing Style as Response to Fashion Trends in Indonesia Tyar Ratuannisa¹, Imam Santosa², Kahfiati Kahdar3, Achmad Syarief4 ¹Doctoral Study Program of Visual Arts and Design, Institut Teknologi Bandung, Jl. Ganesa 10 Bandung, Indonesia 2,3,4Faculty of Visual Arts and Design, Institut Teknologi Bandung, Jl. Ganesa 10 Bandung, Indonesia. [email protected] Fashion style refers to the way of wearing certain categories of clothing related to the concept of taste that refers to a person’s preferences or tendencies towards a particular style. In Indonesia, clothing does not only function as a body covering but also as a person’s style. One way is to use traditional cloth is by wearing batik. Batik clothing, which initially took the form of non -sewn cloth, such as a long cloth, became a sewn cloth like a sarong that functions as a subordinate, evolved with the changing fashion trends prevailing in Indonesia. At the beginning of the development of batik in Indonesia, in the 18th century, batik as a women’s main clothing was limited to the form of kain panjang and sarong. However, in the following century, the use of batik cloth- ing became increasingly diverse as material for dresses, tunics, and blouses.This research uses a historical approach in observing batik fashion by utilizing documentation of fashion magazines and women’s magazines in Indonesia. The change and diversity of batik clothing in Indonesian women’s clothing styles are influenced by changes and developments in the role of Indonesian women themselves, ranging from those that are only doing domestic activities, but also going to school, and working in the public. -
Feminism, Gender, Woman
Feminism, Gender, Woman... A List of Articles, Books, Chapters in western languages available at the École Française d'Extrême-Orient Library in Chiang Mai, 131 Charoen Prathet Road Opposite The Alliance Française or at Louis Gabaude's home in Sansai Louis GABAUDE Chiang Mai - Sansai July 2016 Feminism, Gender, Woman... A List of Articles, Books, Chapters in western languages available at the École Française d'Extrême-Orient Library in Chiang Mai, 131 Charoen Prathet Road - Opposite The Alliance Française or at Louis Gabaude's home in Sansai (Contact: <[email protected]> More than 2000 References Note 1: This list includes records entered up to 2007 [Before my retirement from the EFEO]. For later acquisitions, consult the EFEO librarian, Dr. Rosakhon, at the library, or Louis Gabaude <[email protected]> Note 2: Records with "Inv. LGTAP" are located in Louis Gabaude's home in Sansai Note 3: Records with "Inv. LG + a number higher than 35000" are located in Louis Gabaude's home in Sansai L.G. ---. "Women and Buddhism in Thailand: A changing identity for religious women". 21 p. - NOTE: Manuscrit. - CALL Nr.: TAP. W872W: Inv. LGTAP 04544. [4544] A. A. "Enceintes dès le seuil de l'adolescence". >>> Croix (La) - L'Evénement (2001/02/21), p. 13. - CALL Nr.: TAP. A???E: Inv. LGTAP ???. [90000] Abbott, Susan M. "[Review of] Simmer-Brown, Judith. Dakini's Warm Breath: The Feminine Principle in Tibetan Buddhism. Boston: Shambhala Publication, 2001. xxv, 404 p.". >>> Pacific World (The) [Third Series], 04 (2002), p. 281-287. - CALL Nr.: PER. E. P001[3]-04: Inv. LGPER. E. -
Conserving and Sustaining Culture Through Sarawak Traditional Malay Woman Headscarves
Conserving and Sustaining Culture through Sarawak Traditional Malay Woman Headscarves Conserving and Sustaining Culture through Sarawak Traditional Malay Woman Headscarves Conserving and Sustaining Culture through Sarawak Traditional Malay Woman Headscarves Awang Rozaimie1*, Rashidah Bolhassan2, Regina Garai Abdullah3 and Aiza Johari4 1&4Universiti Teknologi MARA, Cawangan Sarawak, MALAYSIA 2Pustaka Negeri Sarawak, Sarawak, MALAYSIA 3Universiti Malaysia Sarawak, Sarawak, MALAYSIA [email protected]; [email protected]; [email protected]; [email protected] Received: 2 February 2020 Accepted: 30 April 2020 Published: 30 June 2020 ABSTRACT The traditionally Sarawak Malay woman headscarf is known as Tudong Selayah Keringkam. It is a hand-made identical embroidery headscarf, produced with articulate skills, creativity, and imagination and worn as a social identity among the Malay women in Sarawak. This paper argues that the Selayah and the Keringkam are two different pieces of headscarves artwork. This paper also foresees the reasons behind the depletion of interest and skills of producing this artifact among the younger generation, to a large extent, making the cultural sustainability of the traditional headscarves in Sarawak to become less significant. Hence, the objectives of this paper are to explore the distinction between Selayah and Keringkam. In this transcendental phenomenological paper, the ‘framing approach’ is used in the in-depth interviews conducted with Selayah Keringkam weavers and Malay elders. This paper apparently has found the little provision to the distinction between Selayah and Keringkam. However, there are five elements posited which have contributed to the depletion of interest among the young generation in the production of Selayah Keringkam. Those elements are labelled as Price, Realism, Technology, Proficient and Insight. -